The last year has been more full of fear than ever before... but on the personal level, each of my films is a little monument.

The members of my family that I've shown the film to have also been severely critical toward it.

The film must be shot on 35 mm film and in Academy, which is a clearly defined format. But when you enter into a collective, you have to submit to the collective.

The essence of my dramaturgical considerations is that I want to chuck out the most superfluous, habitual constraints and escape from rigidity, but at the same time film is a means of communication.

I'd toyed with a couple of ideas beforehand, but I hadn't written a single cue, and it was a wonderful feeling to just write away.

But if it means that people who used to be limited by a notion of how a proper film should be, if those people now feel that they can make film-then I find that has a certain quality to it.

If you tell a man what to do in real life, to which extent is it reality and to which extent are you in control?

I prefer to work with unassailable ideas. And I wanted to do a film about goodness.

In the earlier films, it was a conscious decision not to be too close to the actors.

In the forest scene we had put a mike up a tree to capture the ambient sound... it is like reinventing movie-making, don't you see?